{"id":47498,"date":"2025-03-25T09:00:00","date_gmt":"2025-03-25T12:00:00","guid":{"rendered":"https:\/\/latinoamerica21.com\/?p=47498"},"modified":"2025-03-25T09:56:52","modified_gmt":"2025-03-25T12:56:52","slug":"theater-as-resistance-against-imperialist-narratives","status":"publish","type":"post","link":"https:\/\/latinoamerica21.com\/en\/theater-as-resistance-against-imperialist-narratives\/","title":{"rendered":"Theater as resistance against imperialist narratives"},"content":{"rendered":"\n

Before delving into the significance of 1903, The Musical<\/em>, let\u2019s discuss mass control through political propaganda\u2014an instrument designed to persuade in times of war by influencing emotions, political ideologies, or cultural beliefs.<\/p>\n\n\n\n

Political propaganda dates back to Roman emperors such as Julius Caesar and Augustus, who used monuments, coins, and public speeches to consolidate power and promote their achievements. In 1622, Pope Gregory XV established the Sacra Congregatio de Propaganda Fide<\/em> to control global evangelization from Rome while also reinforcing papal authority worldwide. Over time, propaganda became a key tool in totalitarian regimes, from Lenin\u2019s implementation of communism in Russia to the Nazis\u2019 rise to power in Germany.<\/p>\n\n\n\n

Today, when we see an American flag, hear the name \u201cTrump,\u201d or even read the acronym \u201cMAGA,\u201d the first thing our minds semantically associate with\u2014regardless of context\u2014is living imperialism. In Panama, this translates to \u201csovereignty,\u201d a concept that has been hard to uphold in history books.<\/p>\n\n\n\n

But how does this relate to 1903, The Musical?<\/strong><\/h3>\n\n\n\n

Harold Lasswell, a pioneer in political science and communication theory, describes propaganda as a controlled flow of information designed to shape public opinion and establish behavioral models. This should not necessarily be viewed in a negative light. While Donald Trump maneuvers according to his interests, Panamanians have their own lived history\u2014one that continues to be brought to life on grand stages before audiences who refuse to let their past fade away.<\/p>\n\n\n\n

1903, The Musical<\/em> is a prime example of well-executed political propaganda: from its set designs and costumes to its actors and music\u2014songs that could very well become anthems of sovereignty. The play is crafted like a chess match, where every move is strategic. It\u2019s not until the final scene that the audience truly feels the \u201ccheckmate,\u201d leaving no emotion untouched\u2014at least one tear is inevitable.<\/p>\n\n\n\n

The script opens with Victoriano Lorenzo\u2014one of Panama\u2019s great historical heroes\u2014lying on the ground at what is now Plaza de Francia. A largely forgotten figure in history, he comes back to life to reenact Panama\u2019s separation from Colombia. The characters are meticulously developed, even in brief appearances like that of Theodore Roosevelt or the ironically portrayed Philippe Bunau-Varilla. Even if history books were to erase his name, he would remain an antihero\u2014someone to whom Panama \u201cowes\u201d its canal, yet who also sold the country out for $10 million.<\/p>\n\n\n\n

The power of music<\/strong><\/h3>\n\n\n\n

According to an article by Eduardo Barreto Mart\u00edn, a researcher at the University of Salamanca, on the relationship between democratic memory and cultural spaces, music not only reinforces messages but also facilitates memorization and creates emotional connections around a collective goal. In 1903, The Musical<\/em>, the songs play a crucial role in the narrative and in evoking national identity.<\/p>\n\n\n\n

Songs like No se gana (pero se goza)<\/em> resonate deeply with audiences through lyrics such as:
“For Panama, the sun rises, another day for the government to score another goal on us. Join the movement, play your role, because we must reclaim this land.”<\/em><\/p>\n\n\n\n

Meanwhile, Eres mi hogar<\/em> conveys a deep sense of belonging with lines like:
“The land that, when split, will unite the world\u2026 You are my home, there is no greater love, no other place like you.”<\/em><\/p>\n\n\n\n

The song Bandera<\/em> elevates the national flag to a symbol of hope and sacrifice:
“Blue, like the mares we will unite. Red, the wound yet to heal. White, the peace dreamed of by the martyrs who will raise you high.”<\/em><\/p>\n\n\n\n

And finally, the iconic S\u00e9 para tu patria<\/em> becomes an anthem of resistance and courage:
“Leave behind the fear that holds you back. The warrior within you stands today. Stand up and be for Panama, be for your country.”<\/em><\/p>\n\n\n\n

These songs function as powerful propaganda triggers. Their impact can be compared to the use of music during World War I, when songs were composed to encourage public support for the war effort\u2014a strategy that also proved effective during World War II. However, political propaganda should not always be seen in a negative light; it can serve as a powerful tool for strengthening a nation\u2019s identity and collective memory.<\/p>\n\n\n\n

Social impact and counter-propaganda<\/strong><\/h3>\n\n\n\n

Theater as a political tool is nothing new. Chilean playwright Isidora Aguirre once recalled how Salvador Allende requested the inclusion of her play Los que van quedando en el camino<\/em> to bolster his presidential campaign. 1903, The Musical<\/em> operates in a similar fashion\u2014it is a counter-narrative that reinforces Panamanian pride against external narratives that, in 2025, threaten to resurface. It may not be part of Trump\u2019s propaganda machine, but in Panama, at least, it continues to serve as a reminder of the country\u2019s resilience.<\/p>\n\n\n\n

From symbolic representation and social critique to the idealization of heroes and villains, the simplification of complex ideas, and the mobilization of audiences\u2014all these elements are reflected in the play, which effectively captures the essence of these mechanisms.<\/p>\n\n\n\n

Ultimately, the figure of Ascanio Arosemena\u2014a student leader killed in 1964 during the D\u00eda de los M\u00e1rtires<\/em> protests, when a group of students entered the U.S.-controlled Panama Canal Zone\u2014stands as a symbol encompassing generations of Panamanians who have fought for their nation\u2019s sovereignty. His story leaves a profound message of unity that resonates powerfully in the hearts of all who witness the play.<\/p>\n\n\n\n

*Machine translation proofread by Ricardo Aceves.<\/sub><\/em>
<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Today, when we see a U.S. flag and hear the name ‘Trump,’ our mind immediately associates them, in semiotic terms, with the idea of imperialism in full force.<\/p>\n","protected":false},"author":733,"featured_media":47472,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"episode_type":"","audio_file":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","footnotes":""},"categories":[17462,16935],"tags":[15635],"gps":[],"class_list":{"0":"post-47498","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-imperialism","8":"category-panama-es-en","9":"tag-debates"},"acf":[],"_links":{"self":[{"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/posts\/47498","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/users\/733"}],"replies":[{"embeddable":true,"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/comments?post=47498"}],"version-history":[{"count":0,"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/posts\/47498\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/media\/47472"}],"wp:attachment":[{"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/media?parent=47498"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/categories?post=47498"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/tags?post=47498"},{"taxonomy":"gps","embeddable":true,"href":"https:\/\/latinoamerica21.com\/en\/wp-json\/wp\/v2\/gps?post=47498"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}